Cultural policy as development policy: evidence from the United States

Cultural policies and cultural projects in the United States have been reframed to emphasize their economic benefits to cities. New alliances between arts advocates and place promoters are apparent at all levels, but are most prominent locally. These new alliances are facilitated by the changing interests of local officials and business people, who have come to believe there is economic value in the arts and of arts administrators, for whom attracting broader public support has become imperative. In some cities, entirely new organizational structures have sprung up to plan and implement projects that serve cultural and economic development advocates simultaneously. Such new institutions are most prominent in more economically disadvantaged cities.     

Cultural rights and their contribution to sustainable development: implications for cultural policy

Abstract

This article aims to analyse the meaning and implications of cultural rights for cultural policies concerned with sustainable development. Although references to both cultural rights and sustainable development have become widespread within cultural policy documents in recent decades, the actual conceptual and operational implications often remain vague, as an ambitious discourse that may conceal a poverty of resources and capacities. As a result, the ideal horizon suggested by cultural rights and sustainable development may not always be achieved in practice, nor are the mechanisms to achieve it always well known. In this respect, the article aims to dissect the actual requirements posed by cultural rights and sustainable development, including their different notions and areas of synergy and intersections, in order to shed light on relevant cultural policy approaches. To this end, a range of examples taken from a variety of contexts will also be examined as areas of expressed needs or areas of possible solutions.     

Cultural insecurity and its discursive crystallisation in contemporary France

This article analyses the emergence in French public discourse since 2010 of the term ‘insécurité culturelle’ (‘cultural insecurity’). It traces firstly the take-up of the term outside France since the 1980s in anglophone written news media. It establishes four received meanings for the term: a ‘pure’ cultural insecurity expressing simply a relation to the arts world; a nationally refracted cultural insecurity that expresses that relation through the prism of relations between nations; an anthropologico-political conception; and a conception related to the human development paradigm. The take-up in France of the term has conformed to the anthropologico-political conception. Developments after 2002 in France created propitious conditions for coupling the semantic fields of ‘culture’ and ‘insecurity’. The term itself was launched from 2010 through the work of two quite different ‘discursive entrepreneurs’ associated with the erstwhile ‘popular left’ current close to the French Socialist Party (Christophe Guilluy and Laurent Bouvet). The article analyses in both linguistic and political perspectives how the expression has been taken up since 2012 in the national press in France. In particular, it explores the debate concerning the purchase of the term on reality, and its current discursive fit with the agendas of the mainstream and far right.     

Taking perspective of the stories we tell about transgender rights: The narrative policy framework

Our project uses the narrative policy framework (NPF) to explore narrative effects on attitudes about transgender rights. The framework focuses on the stories that are told about public policy. As opposed to conceptualizing communications as informational, NPF suggests that getting lost in the story is primary for attitude change. We also incorporate a perspective taking exercise to examine its effects on individual attitudes. Using an experiment on 1784 American adults, we found that individuals who received the inclusive transgender policy narrative by either watching or reading the narrative held views more supportive of transgender rights, with the effect greater for watching than reading. Those who experienced greater narrative transportation, being more lost in the story, reported more supportive attitudes. We further find that those with traits that lead them to become more imaginatively involved in stories occasionally are more greatly affected by watching policy narratives than those who are less imaginatively involved. However, perspective taking did not influence attitudes and weakened the treatment effects of the narratives. Our findings suggest stories can affect policy attitudes and beliefs, which may be conceptually distinct from traditional framing-based accounts and implies distinctive causal mechanisms that result in attitude change.     

Memory in warfare: history as a destituent narrative

Abstract

To what extent may we consider historical writing a field of political tension? Could we make a plausible conceptual distinction between a constituent and a destituent narrative? According to Carlo Ginzburg – one of the proponents of ‘microhistory’ – historical sources are ‘distorting mirrors’, which let the truth shine through in an indirect way. Consequently, the good historian is the one who manages to grasp the ‘Freudian slips’ of history and fixes them in a coherent framework. Michel Foucault’s ‘political historicism’ seems to adopt the same historiographical approach: the most reliable witnesses of the past are the victims of the dominant power and the forgotten subjects of the constituent historical narrative. It seems to the author that Walter Benjamin and Simone Weil’s warfare writings share this destituent attitude towards historical representations. As far as Benjamin is concerned, the author’s hypothesis is that between the two world wars he radically redefines his notion of memory. With the apotheosis of the Nazi regime, he starts to conceive memory of the catastrophic past as the only possible input of an authentic revolutionary action. With a similar attention to collective memory, Weil goes through European history in order to deconstruct its principal political mythologies, from Rome to the Third Reich. Her purpose is to let the stories of the defeated re-emerge in order to show the history of violence that lies beyond the official representation of the past. In both cases, the main political aim is eventually to produce a destituent narrative of Europe that could serve as a guideline in the post-war period.     

Cultural policy archetypes: the bathwater and the baby

ABSTRACT

Cultural policy archetypes have been fundamental to comparative cultural policy study and continue to be influential in both everyday and scholarly characterizations of national cultural policy systems. This paper explores the proposition that cultural policy archetypes reflect what people believe to be true about culture – their cultural ideologies. Cultural ideologies are integral to the formation of cultural policy and, thus, must be considered in any theory that hopes to measure the extent to which and explain why cultural policies differ. Cultural ideologies embody ideas about why culture is important and how it should be governed. Those ideologies spotlight certain administrative mechanisms, overemphasizing their role in systems that actually are deeply administratively hybrid. This makes archetypes poor tools for analyzing the mechanisms of cultural policy; however, because archetypes tell us about cultural ideologies in straightforward and powerful ways, it is essential that they continue to be a part of comparative cultural policy study.     

Narrative policy images: Intersecting narrative & attention in presidential stories about the environment

Drawing on ideas about how narratives focus attention, this paper develops a “narrative policy image” using the Punctuated Equilibrium Theory and Narrative Policy Framework explanations of the policy process. The concept of a narrative policy image is applied to test partisan expectations about presidential environmental policy stories in State of the Union Addresses over 73 years. This research finds that Democratic stories focus on problems like climate change and victims and Republican stories emphasize solutions like new programs and upholding the status quo. These trends point to potential story types and suggest a narrative policy image, including both narrative components and valence, may be a useful concept for understanding narrative attention in macropolitics.     

Who governs culture? Actors,federalism and expertise in Swiss regional cultural policy

ABSTRACT

This article proposes a novel approach to cultural policies and cultural policy change, drawing on public policy and institutional analysis to study how decision-making power is distributed between actors in the public and private sectors and at different state levels, as well as the precise roles of public administrations, elected officials and cultural actors. Indeed, rather than directly defining cultural policy, laws on culture mostly designate actors in charge of policy implementation. Based on an empirical application of this analytical framework to the case of Swiss cantons and focusing specifically on the positions of cultural actors, findings show that cultural policies are transformed in different ways, affording more or less power to actors from the cultural sector in implementation arrangements generally dominated by administrative actors.     

Literary geography: setting and narrative space

This paper explores some of the ways in which analytical strategies developed within narrative theory might be combined with recent developments in literary geography in the study of setting and narrative space. It suggests that despite narrative theory's urge toward categorization and its associated tendency to conceive of space as relatively stable and fixed, the technical vocabulary developed within the discipline has much to offer the literary geographer. The first section of the paper reviews some of the areas of potential collaboration in this cross-disciplinary overlap, while the second section offers three brief case study readings designed to suggest the potential of a combination of the analytical specificity of narrative studies with the imaginative stretch of spatial theory. The case studies look at setting and narrative space as they emerge in relation to narrative voices and multiple audiences in three case study texts: P.K. Dick's The Man in the High Castle (1962), J.A. Mitchell's The Last American (1889), and F. Scott Fitzgerald's The Great Gatsby (1925).     

The evolution of Chinese film policy: how to adapt an instrument for hegemonic rule to commercialisation

Since the 1990s, the Chinese political leadership has gradually embraced the commercialisation of the film sector and has turned the liberalisation of entertainment content production into a strategy for generating legitimacy. This article traces the evolution of Chinese film policy from its Communist origins to the present day, and reveals that the Chinese Communist Party (CCP), at the same time, has never desisted from using film production to establish hegemony in a Gramscian sense, and that these efforts have even been intensified over the last decade. The second part of the article scrutinises how the CCP’s mechanisms of control and ideological guidance have been adapted to commercialisation and, based on personal interviews with Beijing film producers in 2006 and 2007, investigates the extent to which the intensified efforts of adaptation since 2003 have been able to persuade the private sector of film production to participate in maintaining CCP hegemony.     

Disseminating the policy narrative of ‘Heritage under threat’ in China

ABSTRACT

Originating from within the UNESCO, narratives on ‘heritage under threat’ tell the story of how and why intangible cultural heritage (ICH) practices are valuable, why are they disappearing, and how they can be protected from destruction. Focusing on PR China, this paper conducts a frame analysis to identify narratives on ‘heritage under threat’ as employed by the UNESCO, the Chinese party-state, and academics. The study argues that while policy narratives in any country undergo a process of congruence-building, circulation, and implementation, these processes take distinctive forms in authoritarian countries due to the states’ discursive and political monopoly: While non-state actors are involved, the state primarily steers the appropriation process. Nevertheless, once established, the policy narrative transforms across time and space, enabling local actors to use it to pursue their own interests.     

The neo-developmental cultural industries policy of Korea: rationales and implications of an eclectic policy

ABSTRACT

This article undertakes an explanatory case study of the South Korean cultural industries policy shift instituted under the Kim Dae-Jung and Roh Moo-Hyun governments (1998–2008). This shift can be well positioned within the broader context of the creative turn in national cultural policy around the world, which was initiated by the British New Labour governments (1997–2010). Despite the similarities in the driving discourses and policy methods, the Korean policy shift was significantly distinguished from its British counterpart because of the differing pace and trajectories of industrialisation in the two countries. Adopting the concept of the East Asian developmental state as an entry point, this article explores how and why South Korea went through a cultural industries policy shift in the period following the 1997–98 Asian financial crisis and, additionally, examines what kinds of changes the policy shift brought about. Understanding the rationales and implications of this neo-developmental transformation can provide a unique opportunity to re-think the fashionable creative industries policies among various nations.     

Footprint or fingerprint: international cultural policy as identity policy

This article focuses on government policy aimed at the presentation of the nation abroad through cultural activities and its relation to national identity, external cultural policy. The methodological framework is offered by the discourse analysis of Wodak and the notion of identity of Laclau and Mouffe, treating policy as a discourse. A closer look is taken at the concept of cultural diplomacy and the closely related term nation branding. This article will show how the shift in paradigm also changes the role of ‘the other’ in the construction of national identity and how this influences the role of the arts in international cultural policy.     

Cultural policy through the prism of fiction (Michel Houellebecq)

Cultural policy studies tends to talk about fiction without actually using it. A typical move is to place it in an aesthetic realm to be protected, situated and/or critiqued. This is an eminently worthwhile activity. However, this paper explores some ways in which works of fiction may, following their own dynamic, yield significant perspectives upon the world of cultural policy itself. In what ways do fictional works offer us prisms through which to reappraise the worlds of cultural policy? What are the effects of the reconfigurative imaginative play to which they subject the institutions of that world? How are the discourses of cultural policy reframed when redeployed by novelists within free indirect style or internal monologue? The article begins by distinguishing four broad modes in which fictional works refract the world of cultural policy, and then analyses in more fine-grained detail two novels by the leading French writer Michel Houellebecq.     

Cultural policy and evaluation of quality

Based on Danish experiences the article discusses the increasing role that the discourse of “quality” is playing in cultural policy. Throughout the 1990s, from the general cultural debate, this discourse has spread to more instrumental considerations and practices in the field of cultural policy. The article presents this process in a historical perspective and characterises the present tendency towards a technocratisation of the discourse of quality under the auspices of New Public Management and the general trend in modern state policy towards instrumentalising all societal resources in the global economic competition. Opposing this line of development, it is argued that “quality” could serve as a progressive, non‐instrumentalist discourse if it is defined in relation to a modernised understanding of the “rational core” of the cultural policy tradition of the Nordic countries. In this perspective, the article suggests a contextualisation of the concept of quality and possible ways of implementing the discourse in practical cultural policy.     

EU media policy and/as cultural policy: economic and cultural tensions in MEDIA 2007

This article is an examination of the cultural and economic tensions that arise in the formulation and implementation of media policy in the European Union. Through an analysis of the MEDIA 2007 MEDIA Desk Germany. 2007. Interview with Aviva Silver, head of the MEDIA Programme, European Commission carried out by MEDIA Desk Germany in preparation of the Programme launch at Berlinale 2007 [online] Available from: http://www.mediadesk.co.uk/usr/images/news_images/interview_with_aviva_on_media_2007.doc [Accessed 17 May 2010] [Google Scholar] program, the authors investigate how the priorities of cultural policy and media policy interact and conflict. EU policy goals from the mid‐2000s onwards have emphasized attention to the economic potential of the creative and cultural industries, which complicates the cultural potential of audiovisual media. MEDIA 2007 MEDIA Desk Germany. 2007. Interview with Aviva Silver, head of the MEDIA Programme, European Commission carried out by MEDIA Desk Germany in preparation of the Programme launch at Berlinale 2007 [online] Available from: http://www.mediadesk.co.uk/usr/images/news_images/interview_with_aviva_on_media_2007.doc [Accessed 17 May 2010] [Google Scholar] in particular demonstrates these tensions, as the design of this policy mechanism emphasized audiovisual media’s potential for European economic growth as a precondition for achieving cultural objectives.     

Building Bridges of Memory: The Mothers of the Plaza de Mayo and the Cultural Politics of Maternal Memories

In this article, I explore the Mothers of the Plaza de Mayo as a site through which social memories are transmitted and connected to the realities of Argentina’s present. The conjuncture or disjuncture between people’s direct and individual memories of the past, their memory of the society’s collective past, and the “official” history can be used as a prism for seeing how power, and resistance, work through and reinforce a complex political economy. By giving testimony and re‐contextualizing the events of the dictatorship, the Mothers have been able to challenge the historical narratives of the state and construct competing ones. Furthermore, the present‐day activism and goals of the Mothers, as individuals and as a collective, are based on political commitments that have arisen in great part out of maternal relationships and maternal memories. Their maternal memories have led to a re‐signification of neoliberalism as a type of structural violence.     

From policy to platform: the digitization of Danish Cultural Heritage

This article scrutinizes the dominant discursive formations within digitization of cultural heritage in Danish cultural policy, with the ‘Danish Cultural Heritage’ portal serving as a case. The paper analyzes how the portal frames users’ participation potentials and how this relates to the objectives of the portal and official Danish digitization strategies issued in the period of 2007–2015. Furthermore, the article incorporates interviews with experts working with the portal and the digitization strategies in order to gain a closer understanding of the transformation from policy to reality. Even though discourses on participation and user engagement are detected within official cultural policy documents, the dominant discourses are those of administrative and managerial effectiveness and cooperation as well as increased production, innovation, and competition. A similar pattern emerges on the portal, where focus is on digitization and preservation rather than access and use. The interactions between technology, user/usage, and content are thus tailored on premises of ‘read only’ and ‘sit back and be told’ cultures rather than on the user-engaging ‘read write’ and ‘making and doing’ cultures.     

Toward redesigning national health systems

Four recent books on myth, like myth itself, range well beyond anthropology. One is a précis that defines myth as both ubiquitous and ultimately insoluble, regardless of one's disciplinary tools. It uses a single myth, that of Adonis, to show how interpretation can swing wildly from theory to theory. Giving us vertigo atop its intricate scaffolding of technical devices, a second book wrangles with creation myths as it ascends to a stellar interpretation of the biblical flood. The third and fourth books, with Job-like patience, take it upon themselves to thoroughly address all the points lightly aired in the first book.     

Ordinary culture in a world of strangers: toward cosmopolitan cultural policy *

The image of Zwarte Piet, as part of Dutch Sinterklaas celebrations has caused heated debate in the past decade, which has polarized tensions between the ‘Dutch’ and ‘strangers’. This article argues that the debate cannot be resolved within a framework of a methodologically nationalist cultural policy. Building on Kwame Anthony Appiah’s book Cosmopolitanism: Ethics in a World of Strangers, I argue that a cosmopolitan framework for belonging is not only a normative but also a policy imperative. Cultural policy should recognize our shared global belonging, rather than building a national polis predicated on difference that sets us apart. However, a methodologically cosmopolitan cultural policy cannot be a blanket approach to replace or undermine national frameworks. It should embed the nation in a cosmopolitan public policy to accommodate cultural and religious diversity under globalization that has irrevocably eroded the illusion of a national unity.